Another Bernstein rarity, this one written for the inaugural season of Mstislav Rostropovich (Slava) as music director of the National Symphony Orchestra in Washington, D.C. There’s a nifty part for electric guitar partway through, and a taped sequence of political speeches (sometimes cut, though not here).

Rostropovich was of course a political figure, dubbed a dissident by the Soviets after he came to the United States. His appointment as music director of our national orchestra was a nice thumb on the nose gesture by us. Bernstein had been instrumental in getting Slava and his wife, soprano Galina Vishnevskaya, out of the Soviet Union.

It’s a wonderfully whacky piece that seems to capture some of the atmosphere of political Washington, even to this day. In its way, this overture is kind of a musical equivalent of a satirical essay by H.L. Mencken.

Like this:

As we approach Leonard Bernstein’s 100th birthday on August 25, I’ve been featuring a number of his lesser-known pieces in this space. Here’s another: The “Elegy for Mippy II” for solo trombone, composed in the late 1940s. Mippy was the name of Bernstein’s brother’s dog. The score instructs the player to provide a foot-tapping accompaniment. Ximo Vicedo is the trombonist in the video.

Like this:

In the run-up to Leonard Bernstein’s 100th birthday, I’ve been highlighting some of his lesser known music. Here’s his jazz/classical fusion piece “Prelude, Fugue and Riffs,” originally written, like Stravinsky’s “Ebony Concerto,” which it resembles, for Woody Herman’s big band. Bernstein conducts this performance for the TV show “Omnibus” in 1955.

Here’s some more little-known Bernstein. His 1953 musical “Wonderful Town,” with lyrics by Betty Comden and Adolph Green, was based on the popular play called “My Sister Eileen,” which tells the story of two sisters from Ohio who come to New York to pursue careers as a writer and an actress. They move into a dumpy Greenwich Village basement and shortly after arriving there sing this song, longing for home.

Being the child of Leonard Bernstein was like having a nuclear blast for a dad. You practically had to stand back and wear protective goggles when he came into a room, and even then the gale wind and blinding light were hard to withstand. The aftereffects of Lenny radiation included a sense of worthlessness (or at least that one had little talent), sexual confusion and a certain rudderless direction in life. Still, all three of his children apparently adored him, and he adored them back, sometimes to excess. It wasn’t the worst childhood if you were Leonard Bernstein’s kid, but it certainly could be odd and overwhelming.

Just in time for the centenary comes “Famous Father Girl” by Jamie Bernstein, the oldest of the Bernstein children. It’s a “Memoir of Growing Up Bernstein” and well done too. There’s a certain built-in page-turning quality to the story if you know anything about Leonard Bernstein at all. You know that, as you read, you’re moving ever closer to the lurid and tragic last decade of his life. Jamie Bernstein heightens that feeling by telling her story chronologically and revealing details about her father, and mother (the actress Felicia Montealegre), as they became known to her. So the early chapters of “Famous Father Girl” are fairly idyllic, told from the standpoint of a young girl basking in the glow of her parents’ love and success and fame.

If your only knowledge of Leonard Bernstein’s musical “On the Town” is the famous movie, then you don’t know it. The film cut most of Bernstein’s music and the composer ended up boycotting it.

Here’s a great bit from the studio cast recording made in 1960 under Bernstein’s direction, and not in the movie. There are two quick comedic preludes and then the wonderful song “Ya Got Me.” The characters are attempting to cheer up their friend, Gabey.